Congrats Dennis - finally looks like a real pro update - on everything in the package - seriously. Would have been fun to have been part of the beta for this round... certainly might have made past pain disappear.

I look forward to seeing it in action at NAB - I think we have an Adobe staion in the AJA booth so hopefully I can play around with it a bit. Biggest question of course is upgrade cost...

There will be a lot of options and we always try to be compelling with the upgrade costs as possible. Too many options to outline here and you don't mention your specific case. you'll know soon enough.

I just pulled the trigger on the CS5.5 upgrade to my CS5 Master Collection. It was 10 percent off the list price of $549., so with shipping of the disks the total came to a cool $500.05. This, by the way, gives me a free upgrade to CS6. I love it!

I had very little to do with it other than take engineers to big customers and yell very loudly about things FCP and other types of editors want. I represent you guys to Adobe and hopefully some of those things get heard. ;-)

[Aindreas Gallagher]"why are you so tall?"

6'5" because I know that God knew I wanted to be tall. Pete at G-Tech beats me handily at 6'8" or more...

- Can you save favorites, like filter presets & transitions, in a project bin?

- What (new) 3rd party plugin devs are on board, ESPECIALLY to create transition plugins? For example, it would be awesome to have FxFactory show up in PPro.

- Clip-based automated audio gain? (instead of track based)

- Search timeline for clip names, selected clips can then be acted upon (see Q#1 above).

- Nested sequences that can retain their (preview) render status. Eg; I had a project recently that had dozens of greenscreen + graphics segments that combined in different ways to create 21 30-minute vids. In FCP, as the render files are maintained, I only needed to render the composites once, and all the renders flowed to the resultant sequences, saving a HUGE (monster) amount of render time.

My biggest hope is that Premier would mimic FCP7 in the way that it uses the rendered parts of the timeline to export the media, rather than re-rendering everything on export. This is one of the major drawbacks that I've always had with the program. Cumulatively, in a facility, it cost us a lot of time.

So.... does 6 leverage pre-rendered segments on the timeline for exports?

This is all provided the export is to the same settings as the timeline (of course).

[Marvin Holdman]"My biggest hope is that Premier would mimic FCP7 in the way that it uses the rendered parts of the timeline to export the media, rather than re-rendering everything on export. This is one of the major drawbacks that I've always had with the program. Cumulatively, in a facility, it cost us a lot of time.

So.... does 6 leverage pre-rendered segments on the timeline for exports?"

I do that now in CS5. I just select 10-bit uncompressed as my render format for the sequence, then export with "use previews" enabled when I need high-quality outputs. If you just want fast exports for preview exports, leave the render setting at a lower quality level.

[Bob Woodhead]"- Can you save favorites, like filter presets & transitions, in a project bin?"

You can't save them in the project but they are persistent on your machine. There are ways to move them to other machines too.

[Bob Woodhead]"- What (new) 3rd party plugin devs are on board, ESPECIALLY to create transition plugins? For example, it would be awesome to have FxFactory show up in PPro."

We have just about everything and since we've been 64-bit a long time, you won't have to worry about waiting to long to get updated versions. FX Factory built their architecture on Apple's graphics engine and as a result cannot easily port it over to Premiere Pro. My advice is to tell them you want it for PRemiere Pro. As a plugin company they are dependent on users and host applications like Premiere Pro.

[Bob Woodhead]"Search timeline for clip names, selected clips can then be acted upon (see Q#1 above)."

Several ways I could interpret your question here, but I would say in a general sense, yes. We have searching in the project panel and a variety of ways to search. We have clip usage now showing up on the thumbnails in the bins.

[Bob Woodhead]"Nested sequences that can retain their (preview) render status. Eg; I had a project recently that had dozens of greenscreen + graphics segments that combined in different ways to create 21 30-minute vids. In FCP, as the render files are maintained, I only needed to render the composites once, and all the renders flowed to the resultant sequences, saving a HUGE (monster) amount of render time."

Don't know, but I think the answer is yes and it's been that way for a while. I won't be able to check for a while so maybe someone else can help me out on this one. BTW - remember that our greenscreen is a) very usable and b) real-time!

[Dennis Radeke]"FX Factory built their architecture on Apple's graphics engine and as a result cannot easily port it over to Premiere Pro. My advice is to tell them you want it for PRemiere Pro. As a plugin company they are dependent on users and host applications like Premiere Pro."

Right Dennis. The basis for their plug-ins is Quartz Composer. It's a great plug-in structure, however, it is Mac only. Their plug-ins work in After Effects, but only on the Mac side. You could certainly use dynamic link to get the FX Factory plug-ins into your workflow. As Dennis said, you could write to them and ask them to port their plug-ins to Premiere Pro on the Mac side. If it can be done for After Effects, it certainly could be done for Premiere Pro. However, you will not likely see these plug-ins on the Windows side. I love FX Factory, I really hope they make the move to Premiere Pro some day.

This is very cool. I'm looking forward to playing with it for myself. I don't expect the built in camera tracker to be as powerful or flexible as Syntheyes... but it's a nice feature to have nonetheless.

[Shawn Miller]"I have a question about the camera tracker. After you resolve a shot in AE, can the tracking information be exported into a scene file for other 3D applications like Maya or Cinema 4D?"

I think the answer would be yes, because you see the camera keyframes and can copy them into the clipboard and paste into a spreadsheet as a worse case scenario. Also, we're working with 3D companies and you may some nifty tricks from them in the future.

One thing that intrigued me about FCPX was it's use of Tags or Keywords for entire clips or as a range based section of a clip for super fast organization and grouping. Is there anything like this in Premiere Pro 6?

[Jim Giberti]"[TImothy Auld] "There is no such thing as superfast organization. It does not exist. Organization is work. Any one who tells you differently is well, let's just say, shading the truth.
"

Ain't that the truth.
"

Organization is also relative. While I agree that superfast organization is not fast, I would take the Pepsi challenge that organization has to be slow. It doesn't.

It also depends on what you mean by organization.

Yes, it might take planning, and it might start before the shoot, take know how, and the right equipment of course. But that minimal effort could reap benefits in post organization. It also takes proper post tools, and no current NLE has truly great ones when it comes to cam metadata, and in app metadata.

Fcpx has some really good ones like being able to rename and increment huge swaths of media at once, and then sort that through collections, or being able to choose groups and sort to a collection with a keystroke.

Fcp7 was pretty bad, PPro could use some help. Avid is also just ok.

I think that you say there's no fast organization because there's no common tools for it. Politicking aside, taking things for what they are, Fcpx is a step in the right direction in this regard as it actually treats tapeless media as the data it is and uses that strength, instead of a representation of a tangible piece of media captured from tape/film.

I do not believe I am shading the truth. I could prove it to you if we had some time in the same room.

No need to prove it to me Jeremy, I'm happily doing the finishing on my second short with it. About 2 years of four season shoots at about 40 locations and dozens of actors.

I'm very happy with the organizational and finishing tools/speed.

I was reinforcing Timothy's point that you have to do the thinking and leg work to make complex projects organized - there's no question that FCP X allows for quantitatively deeper and faster ways of doing that as we as speeding things up in finishing - both film and audio.

[Dustin Parsons]" One thing that intrigued me about FCPX was it's use of Tags or Keywords for entire clips or as a range based section of a clip for super fast organization and grouping. Is there anything like this in Premiere Pro 6?"

Please don't ever do things the FCX way. The thought strikes fear into my heart. I'm genuinely relieved and excited about CS6. I really appreciate you listen to and are trying to accommodate FCP7 user requests. Apple do it their way and the acolytes love being 'shown the light' but for those of us that prefer the more atheistic sensible path we've now got you. Stay with us. The hockey puck isn't going to be landing on a basketball court any time soon. Hockeyball is a fad. You can be an international sport. Please do..

hi, i heard somewhere that 3d photoshop objects/layers were no longer supported in cs6 is this true? and if so, does this mean the new programme achitectue is now a real 3d space which in the future may support .obj .fbx etc.?

[al ellis]"hi, i heard somewhere that 3d photoshop objects/layers were no longer supported in cs6 is this true? and if so, does this mean the new programme achitectue is now a real 3d space which in the future may support .obj .fbx etc.?"

Photoshop 3D objects into After Effects is indeed not working as Photoshop changed a lot about their 3D architecture and so did After Effects. There wasn't enough time connect the two and make it work right so we'll have to deal with it.

I used to show Repousse from Photoshop into After Effects but anyone who has noodled with it, knows it's kind of a hack and there are definite limitations about the '3d' in After Effects. With true 3D extrusion in After Effects and a ray-tracing engine, I think we're taking a first step into a much larger world for After Effects.

Can you select a bunch of clips in the Project tab, Command-C them and then Command-V them onto the timeline? Can you select a bunch of clips in the Timeline, Command-C them and then Command-V them into the Project tab? What if they are linked clips (Video and Audio from different master clips)?

[Michael Aranyshev]"Can you select a bunch of clips in the Project tab, Command-C them and then Command-V them onto the timeline?"

No, but you've got a ton of similar ways to get your media there. Premiere Pro has a very cool automate to timeline feature that would give you more control. you of course can also, control click and multi-select and then drag to the timeline and it would instance the clips in the selected order.

[Michael Aranyshev]"Can you select a bunch of clips in the Timeline, Command-C them and then Command-V them into the Project tab?"

I'm not sure why I would want to do that if the clips were already in your project? Because they're trimmed?

– copy a shooting day worth of clips to timeline;
– rename from whatever camera generated to Scene-Take;
- park on a frame sticks hit;
– load matching sound take into source;
- hit Replace;
- repeat until there are no more clips;
- select all;
- copy back to project;

Thanks for the link. So merging clips in timeline automatically puts the merged clip into a project. Fine.

How do I select clips to merge without resorting to mouse?
What is a keyboard shortcut for "Merge Clips"?
Will it always add "- Merged" to my clip names?
How can I control what Bin does the merged clip go to?

[Michael Aranyshev]"How do I select clips to merge without resorting to mouse?
What is a keyboard shortcut for "Merge Clips"?
Will it always add "- Merged" to my clip names?
How can I control what Bin does the merged clip go to?"

You can create a custom keyboard shortcut for Merge Clips in CS5.5 and later.
There is no preference to remove the word "Merged" from your merged clips, so yes.
Your merged clips will go to the same bin as the source footage. Drag it elsewhere if you wish to organize it into another bin.

I filed the feature request but it wasn't about "Merge clips". It was about copying and pasting back and forth between project and timeline. "Merge Clips" doesn't belong in the timeline. When you do it in the project tab you have a choice of sync points and the result of the operation depends on this choice. When merging in timeline there is no choice. Link would do the same job just fine. Just let me get linked clips back to the project, to the bin I want them to be.

First off, I want to say that you guys did an incredibly amazing job on this release. I can't even imagine how much work it must have taken to get it this far, especially in a release cycle that saw such a disruptive change in direction when the FCP refugees started pouring in...

As far as questions go- I remember reading that Prelude can transcode clips into another format while ingesting them. Let's say you bring a bunch of clips of varying formats into PPro natively, then for whatever reason decide you want to transcode some or all them instead. Is there a way to quickly replace several native clips with the transcoded versions at the same time?

Also, is transcoding on ingest something that Premiere can do, or does it have to be done in Prelude?

______________________________________________
"THAT'S our fail-safe point. Up until here, we still have enough track to stop the locomotive before it plunges into the ravine... But after this windmill it's the future or bust."

Yes- but it will also get mentioned in the credits in the place where your name would have been if you hadn't dozed off. ;)

______________________________________________
"THAT'S our fail-safe point. Up until here, we still have enough track to stop the locomotive before it plunges into the ravine... But after this windmill it's the future or bust."

Denis, has machine controlled been worked on. Walter Biscardi reported playing out to tape with machine control felt slugish in CS5.5.

I am interested in an integrated finishing system with grading but I must have timecode accurate playout to HDCam. I note that Tangent Wave is supported. Please let me know when video tutorials on Speedgrade are available.

I see that CS6 will have broader support for Radeon GPUs, but the blurb only mentions the models that come with the Macbook Pro. We have 3 Mac Pros with Radeon 5770s in them. Will CS6 be able to utilise these?

[Christopher Travis]" I see that CS6 will have broader support for Radeon GPUs, but the blurb only mentions the models that come with the Macbook Pro. We have 3 Mac Pros with Radeon 5770s in them. Will CS6 be able to utilise these?"

The ways that users worked around limited NVIDIA GPU lists should also work for ATI. I'm sure other people (non-Adobe employees!) can turn you on to the trick. That said....

We go out of our way to certify compatibility with certain cards but we also acknowledge we can't stay in front of the GPU manufacturers with new cards popping up all of the time. So, we pick a few of the most important ones and work on those. We stand behind those chosen cards.

[Michael Gissing]"Denis, has machine controlled been worked on. Walter Biscardi reported playing out to tape with machine control felt slugish in CS5.5.

I am interested in an integrated finishing system with grading but I must have timecode accurate playout to HDCam. I note that Tangent Wave is supported. Please let me know when video tutorials on Speedgrade are available."

Tape control has been in the hands of our third party manufacturers for some time (CS5). Since RS422 control requires hardware, we made the decision to give that work to companies like AJA, Blackmagic and Matrox some time ago.

We understand the importance of deck control both capture and export and we are working VERY closely with our hardware vendors to ensure that we have reliable solutions for our users.

With CS6 we have made the first step on making monitoring completely seemless. For example, you won't see an AJA folder in Premiere Pro any longer unless they have specific codecs or things outside of Adobe codec/sequences. This means that your RED sequence should just play out of Premiere Pro + AJA (or BMD or Matrox, etc.) without thinking about it. Longer term, we would like to extend that transparency to other aspects like capture and export. Of course, that's the future and obviously, things change.

Bottom line - it depends on your hardware i/o partner and their commitment to deck control.

re: Walter - We of course respect Walter's opinion and input and we have worked with him during the CS6 cycle and hope to continue that. Each user has different needs and wants. For Walter at this time, deck control are higher up than we were able to deliver this go around. We view this feature as a priority.

Lastly, Tangent Wave I think is supported by SpeedGrade, not Premiere Pro. I can double check on this.

Thanks Denis. I have a Kona3. Walters comments were comparing the same Kona card with CS5.5 and AVID with the same hardware. btw, really impressed that all in the CS6 suite outputs via the Kona including bluray playback. Nice bonus for those of us who rely totally on calibrated monitoring. Big tick.

I only expect Tangent & Speedgrade integration, not with grade tools in PP

[Tapio Haaja]"Our facility works on top of Apple's XSAN so my question is have you tested Adobe Premiere Pro CS6 with XSAN and are there some known issues?"

As a general rule, as long as the storage is providing consistent throughput, it should work just fine. I haven't played with it, so there could be some issues. The devil is always in the details with any storage SAN/NAS system.

More importantly, we're working closely with Active Storage who are many of those Apple employees and we're working together to certify a workflow.

I've tried dealing with the devil using CS 5.5, which also "should" have worked. If no baseline changes were made to file handling, I'm not sure how that could have been addressed. I'll be interested to get my hands on a trial copy, though - especially since my testing with 5.5 went so poorly. If it's more of the same, I'll probably continue the trend of warming up to FCP X.

[Dennis Radeke] "Guess, I should have known what I was getting myself into here huh? ;-)"

Well you are getting yourself in the good books so bravo. In the past I have criticised your involvement in the Final Cut forum but this forum is precisely for vendors to show they give a f**k and for us to all throw opinions and critiques about. I think Adobe is wooing and your hard work is not going unnoticed.

One of the features in our work flow is custom templates. For the moment we are using FCP 7 with Motion templates that has an animation (buillt in AE) and a phone number and website. Once we build the master commercial we build out versions using Motion templates adding the lower third in FCP 7 and changing the phone number and website within FCP 7. Has a similar feature been added to Premiere or dynamic linking?

The work around in 5.5 I found was to have one layer for the animation and one layer for phone number built using Premiere's graphic program. Not exactly the best work flow but it could work.

[John Czerwinski]"One of the features in our work flow is custom templates. For the moment we are using FCP 7 with Motion templates that has an animation (buillt in AE) and a phone number and website. Once we build the master commercial we build out versions using Motion templates adding the lower third in FCP 7 and changing the phone number and website within FCP 7. Has a similar feature been added to Premiere or dynamic linking?

The work around in 5.5 I found was to have one layer for the animation and one layer for phone number built using Premiere's graphic program. Not exactly the best work flow but it could work."

I think the short answer is no - we haven't done the workflow like FCP+Motion as of yet. There are however a lot of workarounds. The one I'd probably do (using After Effects) is to use a spreadsheet or comma deliminated file to make substitutions for your file for multiple render outputs. If you just need to change it periodically (not multiple times in one shot), then dynamic link by itself should work handsomely.

Does Premiere have Auto Patching in the timeline now? Example: If I have source V1 patched to Record V1, uncheck Record V1 and check Record V3 does V1 automatically patch to V3? If not, has anything changed in how Premiere patched video/audio tracks?

Can you use the keyboard to move selected clips to a higher or lower track?

Can you export using In/Out, rather than workbar (I saw you can hide the workbar, and that's nice).

Can you load a sequence into your source monitor and cut it into the timeline without it nesting - I'd prefer to have access to all video/audio tracks in the loaded sequence to repatch to the timeline.

If I load a clip with 4 mono tracks in my source monitor but have all stereo tracks in my timeline, does Premiere show me that I have 4 mono tracks on the source side? Right now it doesn't show those tracks available for patching if I don't the proper audio tracks available for the clip.

Thanks for answering all of our questions, too. The new release looks great so far - trimming is a huge step forward. Well done there.

[Michael Hancock]"Does Premiere have Auto Patching in the timeline now? Example: If I have source V1 patched to Record V1, uncheck Record V1 and check Record V3 does V1 automatically patch to V3? If not, has anything changed in how Premiere patched video/audio tracks?"

No, and we know we need to address track targeting.

[Michael Hancock]"Can you use the keyboard to move selected clips to a higher or lower track?"

No, you can move clips left/right, but not up/down. We saw this pop up late in the beta cycle by a lot of FCP users. We took note, but it's not in CS6

[Michael Hancock]"Can you load a sequence into your source monitor and cut it into the timeline without it nesting - I'd prefer to have access to all video/audio tracks in the loaded sequence to repatch to the timeline."

This is an Avid feature and again, no - couldn't get to that one.

[Michael Hancock]"If I load a clip with 4 mono tracks in my source monitor but have all stereo tracks in my timeline, does Premiere show me that I have 4 mono tracks on the source side? Right now it doesn't show those tracks available for patching if I don't the proper audio tracks available for the clip."

With regards to audio, Premiere Pro will let you do just about anything you want with it. You could take your 4 audio clip and display it nearly any way you want: 4 mono, 2 stereo or 1 'adaptive' track that holds all 4 audio as a single track instance.

For source side viewing you need to switch to an audio display mode if you want to see the wave form. The master audio meter in CS6 has also been done and toggles automatically between the source/timeline/program views. So, if your clip in the source has 4 mono tracks then the audio meter will display 4 mono meters.

Thanks for the reply Dennis. Sounds like the audio issues have been solved (and then some). That's huge.

Once CS6 drops I'll start sending in more feature requests (like auto patching, retain sequence tracks when in source monitor, etc...). Congrats again on the impending release. You guys are getting a lot of positive press.

[Michael Aranyshev]"[Dennis Radeke] "This is an Avid feature and again, no - couldn't get to that one."

This is FCP Legacy feature too."

Virtual KEM. Absolutely. We know about that one. I used it all the time on Avid Media Composer and found it useful. Please make a feature request. The more we have for that feature, the more likely it will get added.

[Dave LaRonde]"Will there be complete and total support for Open GL acceleration when rendering, no exceptions, no ifs ands or buts? My advice to people has alway been, "save yourself a lot of grief and confusion -- Turn Open GL off for rendering, and leave it off." Do I continue to offer that advice?"

You can tuck that stock answer in a drawer. OpenGL can still be used for Fast Previews, but it can no longer be used for output. The confusing and often dangerous OpenGL rendering options will be gone in CS6. (Yay!)

If you use the new Ray-Traced 3D renderer for a comp, it is accelerated by certain NVIDIA GPUs, and the output is the same from the CPU or GPU.

Everything I've seen thus far looks like massive improvements, especially in regards to AE. I can't tell you how happy I am to no longer complain about lack of extruding. Seriously can't wait to drop a 3D logo over a bent, flat image behind. Something tells me that we're going to see lots of that in the future.

Couple of questions:
1. Does Premiere Pro 6 have an option for adjustment layers similar to how they work in AE?
2. Will PPro or AE now allow for multiple open projects simultaneously? Not importing, but actual separate projects open?
3. Can independent audio clips in PPro have their levels adjusted as in FCP without affecting the whole track?
4. Do the 6750M AMD enhancements also apply to iMacs containing that card?

[John Davidson]"1. Does Premiere Pro 6 have an option for adjustment layers similar to how they work in AE?"

Yes.

[John Davidson]"2. Will PPro or AE now allow for multiple open projects simultaneously? Not importing, but actual separate projects open?"

No. We can import part or all of another project but we cannot open multiple projects at one time. We are aware of many FCP users wanting this kind of thing.

[John Davidson]"3. Can independent audio clips in PPro have their levels adjusted as in FCP without affecting the whole track?"

No. Premiere Pro is a track based mixer - not a clip based mixer like FCP legacy. You do have clip based keyframing on the timeline, but the mixer is track based. We know this is a very high feature request among many users. Premiere's automation and audio handling capabilities are very high - I would argue better than anything else out there, but I (and Adobe) definitely know that this is something that is different and potentially troubling to FCP users.

[John Davidson]"4. Do the 6750M AMD enhancements also apply to iMacs containing that card?"

The cards we offically support are listed on the website. If it is not listed, there are ways to work around this, BUT we have to be clear and say that it isn't supported. We want to allow everyone to experience the GPU goodness, but we can't keep ahead of all the new cards that are popping out all of the time. I hope that we'll add some iMac type ATI cards to the officially supported list soon. until then, you can search the web for the workaround which I find to be just fine.

1) Will Premiere Pro 6 have the ability to apply motion blurs to moving objects?

2) Will Premiere Pro 6 be able to keep folder/file hierarchy when importing a folder that has subfolders?

EG. I have a folder for my sound effects called SFX and inside that folder are sub-folders like, Vehicles, People, Animals, etc... and inside those folders are more sub-folders. In Premiere Pro 5.5 if I drag and drop the SFX folder into the Project window the folder hirearchy disappears – the only folder imported is the SFX folder and all sound effects are found in there.

Apparently in PP5.5 the only way around this is to import SFX folder into AE first, and then copy and paste it into Premiere (see this thread).

I apologize for the lousy typing skills of my last post. One too many 'cans'.

Thank you, Adobe. I can hardly wait to get my hands on CS6! I finally became somewhat fluent using Premiere, and am working hard to learn After Effects (I came from FCS3). CS6 just looks so vastly improved. I'm beyond impressed.

With CS6, plus Avid's Symphony upgrade special, and the new Smoke, and...xxx

2012 will be quite the year to remember for all in the video creation field. Especially for me if Encore can now output a proper BDCMF folder :)

[Dustin Parsons]"1) Will Premiere Pro 6 have the ability to apply motion blurs to moving objects?"

No - that's an After Effects thing for sure. Dynamic link here for sure.

[Dustin Parsons]"2) Will Premiere Pro 6 be able to keep folder/file hierarchy when importing a folder that has subfolders?"

If I understand you correctly, I've seen the answer be both yes and no depending on the version. I haven't checked yet on CS6. Remember, if you're using file-based media, you want to use Premiere Pro's media browser to bring in the media as it will be a more efficient workflow for most people.

I'm curious if multicam editing still cuts back to the angle playback started on every time playback stops?

In CS5.5 if I start playing a multicam sequence with angle 1 active and then live cut to angle 3, then 2, and then pause playback premiere automatically adds another edit back to angle 1 when I click to stop. I would like cuts to only happen if I add them. In this example when I pause, no cut would be added. The cti would just stop with angle 2 still active.